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Document Type

Article

Abstract

Mimicking how the good cop in Filipino movies arrives on the scene just a moment before it is too late, similarly a new generation of filmmakers has emerged in The Philippines to rescue an industry in decline, equipped of late with a new weapon of choice, digital technology. An effective means by which filmmakers might combat the rising costs of producing a film without studio backing, this technology heralds a dramatic change in direction for Philippine Cinema, so much so that the industry appears to have reestablished its footing. But there would be an unexpected turn, especially in self-depictions of sexuality and in the ensuing representations of non-heteronormative values on the screen.

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